Feet are to think on. If you can't do resourceful, then you're in the wrong job.
Few things run as smoothly as we would hope; state of mind is just as important as being in the right place at the right time.
Manufacturing spontaneity is as difficult as it's daft, but it's something that you have to know how to do.
Knowing when to stop isn't as important as knowing when to push. You have to work on your chutzpah. If we can move the chair, why not the desk, the plant - actually that tie's not looking too clever is it?
My skills are to draw great performances from people, some of whose only experience in front of the camera was at their wedding.
Sometimes it all works so well that you actually surprise yourself.
The technology may change, but my most valuable equipment is still the stuff I was born with.
We'll never be able to predict what's around the corner, but if you're prepared, at least you'll know that the corner is there.
Sometimes I have to consider the comfort of the subjects, but I try not to make it a general principle.
My work remains centred on the idea of 'just capturing the moment', simple.
I've always wanted to be a photographer; I've known it since I was five years old when my dad lent me his camera to take a picture of some lupins in the garden.
A deliberate touch on an irritable chairman's arm, apparently to remove a bit of fluff; one part reassurance, and one part letting him know who's in charge for the next five minutes.
On an oil rig in the middle of the ocean, photography is a very, very, very low priority. If you can persuade them that you are serious, you can get rid of those verys... We were serious.
I like knowing that that when I turn up on location, I've got a duplicate of (nearly) every piece of equipment; just in case...
Photography is very unforgiving in its view of history; you either got the shot or you didn't.
Anyone can take a picture, but only someone who really knows what they are doing can make a picture.
Before I click the shutter I always visualise the finished picture, and keep referring to it until I know that I've got it... and what might have to be digitally tickled into place to make the picture sing.
I know I'm being boring and repetitive, I said I know I'm being boring and repetitive, but good organisation before and after every commission is essential.
London. New York. Tokyo. Hong Kong. London. Hong Kong. Manila. Jakarta. Singapore. Bangkok. London. Seventeen days on. One day off. No off days.
I've been taking board shots for many years, the directors nowadays tend to be much closer to my own age; they must be getting younger.
From time to time the shot demands a bit of dirt, mess and hardship: whoever said it was going to be easy?
I've accrued more airmiles than suits my family, but I've had some incredible experiences - I'd even be prepared to repeat some of them.
Quite what they made of a tubby, shoddily dressed Englishman, leaping around with his camera, I can only guess?
On one occasion I found myself on the 68th floor of the Chrysler building, standing with one leg on a chair and the other on the handrail; but I did manage to get the Empire State in too.
Trying to capture something of the individual has kept painters, novelists, biographers, sculptors, poets and finally photographers busy for centuries.
Sometimes photographing women can be a bit tricky, especially in Saudi Arabia where they're not supposed to show their faces.